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    The Lady of Lyons
    The Lady of Lyons
    The Lady of Lyons
    Ebook114 pages1 hour

    The Lady of Lyons

    By Edward Bulwer Lytton

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 25, 2013
    The Lady of Lyons
    Author

    Edward Bulwer Lytton

    Edward Bulwer-Lytton, engl. Romanschriftsteller und Politiker, ist bekannt geworden durch seine populären historischen/metaphysischen und unvergleichlichen Romane wie „Zanoni“, „Rienzi“, „Die letzten Tage von Pompeji“ und „Das kommende Geschlecht“. Ihm wird die Mitgliedschaft in der sagenumwobenen Gemeinschaft der Rosenkreuzer nachgesagt. 1852 wurde er zum Kolonialminister von Großbritannien ernannt.

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      Book preview

      The Lady of Lyons - Edward Bulwer Lytton

      The Project Gutenberg EBook of The Lady of Lyons, by Edward Bulwer Lytton

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever.  You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.org

      Title: The Lady of Lyons

             or Love and Pride

      Author: Edward Bulwer Lytton

      Release Date: December 23, 2008 [EBook #2461]

      Last Updated: November 6, 2012

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK THE LADY OF LYONS ***

      Produced by Dianne Bean, David Ceponis, and David Widger

      THE LADY OF LYONS

      or, LOVE AND PRIDE

      By Edward Bulwer Lytton

                                     To the author of Ion.

                                     Whose genius and example have alike contributed

                                     towards the regeneration of The National Drama,

                                     This play is inscribed.

      Contents

      PREFACE.

      An indistinct recollection of the very pretty little tale, called The Bellows-Mender, suggested the plot of this Drama. The incidents are, however, greatly altered from those in the tale, and the characters entirely re-cast.

      Having long had a wish to illustrate certain periods of the French history, so, in the selection of the date in which the scenes of this play are laid, I saw that the era of the Republic was that in which the incidents were rendered most probable, in which the probationary career of the hero could well be made sufficiently rapid for dramatic effect, and in which the character of the time itself was depicted by the agencies necessary to the conduct of the narrative. For during the early years of the first and most brilliant successes of the French Republic, in the general ferment of society, and the brief equalization of ranks, Claude's high-placed love; his ardent feelings, his unsettled principles (the struggle between which makes the passion of this drama), his ambition, and his career, were phenomena that characterized the age, and in which the spirit of the nation went along with the extravagance of the individual.

      The play itself was composed with a twofold object. In the first place, sympathizing with the enterprise of Mr. Macready, as Manager of Covent Garden, and believing that many of the higher interests of the Drama were involved in the success or failure of an enterprise equally hazardous and disinterested, I felt, if I may so presume to express myself, something of the Brotherhood of Art; and it was only for Mr. Macready to think it possible that I might serve him in order to induce me to make the attempt.

      Secondly, in that attempt I was mainly anxious to see whether or not, after the comparative failure on the stage of The Duchess de la Valliere, certain critics had truly declared that it was not in my power to attain the art of dramatic construction and theatrical effect. I felt, indeed, that it was in this that a writer, accustomed to the narrative class of composition, would have the most both to learn and unlearn. Accordingly, it was to the development of the plot and the arrangement of the incidents that I directed my chief attention;—and I sought to throw whatever belongs to poetry less into the diction and the felicity of words than into the construction of the story, the creation of the characters, and the spirit of the pervading sentiment.

      The authorship of the play was neither avowed nor suspected until the play had established itself in public favor. The announcement of my name was the signal for attacks, chiefly political, to which it is now needless to refer. When a work has outlived for some time the earlier hostilities of criticism, there comes a new race of critics to which a writer may, for the most part, calmly trust for a fair consideration, whether of the faults or the merits of his performance.

      DRAMATIS PERSONAE.

      BEAUSEANT, a rich gentleman of Lyons, in love with,

      and refused by, Pauline Deschappelles                            MR. ELTON.

      GLAVIS, his friend, also a rejected suitor to Pauline          MR. MEADOWS.

      COLONEL (afterwards General) DAMAS, cousin to Mme. Deschappelles,

      and an officer in the French army                              MR. BARTLEY.

      MONSIEUR DESCHAPPELLES, a Lyonnese merchant father to Pauline

                                                                   MR. STRICKLAND.

      GASPAR                                                         MR. DIDDEAR.

      CLAUDE MELNOTTE                                               MR. MACREADY.

      FIRST OFFICER                                                     MR. HOWE.

      SECOND OFFICER                                               MR. PRITCHARD.

      THIRD OFFICER                                                  MR. ROBERTS.

      Servants, Notary, etc.

      MADAME DESCHAPPELLES                                      MRS. W. CLIFFORD.

      PAULINE, her daughter                                    MISS HELEN FAUCIT.

      THE WIDOW MELNOTTE, mother to Claude                         MRS. GRIFFITH.

      JANET, the innkeeper's daughter                                  MRS. EAST.

      MARIAN, maid to Pauline                                       MISS GARRICK.

      Scene—Lyons and the neighborhood.

      Time—1795-1798

      First performed on Thursday, the 15th of February, 1838, at Covent Garden Theatre.

      THE LADY OF LYONS;

      or,

      LOVE AND PRIDE.

      ACT I.—SCENE I.

      A room in the house of M. DESCHAPPELLES, at Lyons. PAULINE reclining on a sofa; MARIAN, her maid, fanning her—Flowers and notes on a table beside the sofa—MADAME DESCHAPPELLES seated—The gardens are seen from the open window.

      Mme. Deschap. Marian, put that rose a little more to the left.—[MARIAN alters the position of a rose in PAULINE's hair.]—Ah, so!—that improves the hair,—the tournure, the j'e ne sais quoi!—You are certainly very handsome, child!—quite my style;—I don't wonder that you make such a sensation!—Old, young, rich, and poor, do homage to the Beauty of Lyons!—Ah, we live again in our children,—especially when they have our eyes and complexion!

      Pauline [languidly]. Dear mother, you spoil your Pauline!—[Aside.] I wish I knew who sent me these flowers!

      Mme. Deschap. No, child!—If I praise you, it is only to inspire you with a proper ambition.—You are born to make a great marriage.—Beauty is valuable or worthless according as you invest the property to the best advantage. Marian, go and order the carriage! [Exit MARIAN.

      Pauline. Who can it be that sends me, every day, these beautiful flowers?—how sweet they are!

      Enter Servant.

      Servant. Monsieur Beauseant, Madam.

      Mme. Deschap. Let him enter. Pauline, this

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